بازشناسی و بازآفرینیِ مقامِ ایرانیِ رنگ در گستره ی عکاسی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
دید بی رنگ و ظهور جهان سیاه و سفید عکس را می توان آغازگر تغییرات مهمی در کیفیت دریافت و ادراک مفاهیم بنیادینِ «انسان، هستی و زمان» دانست که به نظر می رسد همچنان به عنوان رویکرد مسلطی در ساحات مختلف عکاسی تداوم یافته و «شَک باوری» ای که پیش از پیدایش عکاسی، تحکم خود را بر ذهن و تاریخ فرهنگ انسان آغاز نمود، اکنون با اصرار بر غیاب رنگ در جهان عکس، به «شکی پدیداری» و عینی مبدل شده است. لذا عطف به «توسعه ی دید بی رنگ» و «پنهان ماندن عنصر زیبایی در برنامه ی قرن بیستمی دستگاه عکاسی» و نیز با استناد به ظرفیتِ «بسط یافتگیِ» مقامِ رنگ در فرهنگ و هنر ایرانی، به بازآفرینی این معنا در «گستره ی عکاسی» خواهیم پرداخت. بدین منظور، در پژوهش حاضر به شیوه ای توصیفی-تحلیلی، به بررسی علت غیاب رنگ در عکس های اولیه، دلیل تداوم دید بی رنگ در عکاسی امروز، تبیین مبانی فکری و نظری توسعه ی عکاسی سیاه وسفید، کیفیت حضور زیبایی آفرین، معناساز و ادراک بخش رنگ در هنر ایرانی و در ادامه به بسط این معنا در گستره ی عکاسی می پردازیم. مقاله ی حاضر بر این دستاورد است که بازشناسی و بازآفرینی مقام ایرانی رنگ می تواند زمینه ی ارتقای کیفی مراتب ادراکی (دیداری، شناختی و استدلالی) را در گستره ی عکاسی ایجاد کرده و متعاقباً، امکان تکوین نگاهی ایرانی را برمبنای مهم ترین مؤلفه ی تصویری زیبایی شناسی ایرانی در ساحات مختلف (خلق، خوانش، تفسیر، نظریه ) عکاسی فراهم سازد.Recognizing and Recreating of the Iranian Position of Color in the Field of Photography
Seeing uncolored and the emergence of the black and white photo universe, from the beginning, created important changes in the quality of perception and understanding of the fundamental concepts of "Human, Existence and Time". One of the most important developments that emerged due to the technical limitations of photography was the issue of "absence of color" in this new visual field. This change in the beginning turned the real world of colors into the dark and colorless universe of photos. A change that continued as a dominant and valid approach in the field of photography even after the removal of technical obstacles. The development of the black and white universe of photography led the transformative view of this field to other quality and aesthetic principles, which resulted in the degradation of the position of color in various fields of creation, reading and theory of photography.
In this way, the "skepticism" that began to dominate the mental world and the history of human culture before the advent of photography, turned into a "phenomenal doubt" by the continuation of the "absence of color in the universe of photographs".
For this reason, due to the development of "colorless vision" and "hiding the element of beauty in the program of the 20th century photography apparatus", and also due to the importance of the discussion of color as one of the topics that can be pursued in the practical and theoretical interactions of photography, in In this research, we are trying to develop and recreate the Iranian position of color in the field of photography by referring to the beauty-creating, meaning-creating and perception-giving ability of color in Iranian culture and art.
The present article is a fundamental research in a descriptive-analytical method in which we try to look at the field of Iranian visual art and culture as an "expanded field" with the ability to "expand", which is due to the independent visual system and the benefit of Its special structural capabilities makes it possible to expand some of its features and visual components in the field of photography.
On the other hand, we look at photography as a field with the ability of "expandability", which due to its inherent and structural features, can revive many themes (form, content and theme) of Iranian art.
For this purpose, in the present article, we will first discuss the reason for the absence of color in the early photographs and the continuation of the seeing uncolored in photography, and then we will explain the intellectual and theoretical foundations of the development of black and white photography, and finally, we try to expand this formative view-point in the field of photography by explaining the quality of the beauty-creating, meaning-creating and perception-giving presence of color in Iranian visual art. The issue of using color in photography, rather than being related to the color factor, is related to the lasting and unconscious effects that black and white photography has created in the minds and actions of activists in this field. But unlike the "representational hegemony" that considers the black and white state of the photo more valid than the color, the depth of the Iranian view-point, on the one hand, sees color as the cause of creating a "feeling of beauty" and on the other hand, it is the cause of creating different levels of perception (visual, cognitive and reasoning) and in order to strengthen the unrealistic function of color, he introduces the factor of light as the main correlate of color in the image creation process.
In this way, it can be said that today's photography more than ever needs to overcome the dominant attitude that, due to the tradition of monochrome and black and white photography, has affected different parts of photography and important changes in the quality of our knowledge and analysis compared to three created the fundamental concept of "man, existence and time".
But despite the occurrence of such a change, it seems that by recreating the Iranian position of color, it is possible to realize the following five strategic achievements in the field of photography:
Restoring the concept of beauty as a hidden element of the 20th century program of the photographic apparatus; 2. Creating meaning and strengthening the unreality of color through the properties of brightness, saturation and variety of colors; 3. improving the levels of visual, cognitive and reasoning perception; Due to the qualitative correlation of color and light; 4. Realization of intra-thematic capabilities (form, content, narrative, thematic, thematic, conceptual) in the photo and 5. Dominant reading instead of interactive and confrontational reading.
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